Alessandro Costantini Vídeos
organista, compositor
- órgano, órgano
- Italia
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2024-05-02
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Verdi Costantini Rodriguez Massa Teatro Colón 1994
Adelaida Negri, Oscar Imhoff, Juan Carlos Novero, Silvia De Modena, Gerardo Costantini, Alberto Habelrih, José Ansaldi, Carlos Lopez Bazán, Marta Velazquez, Sergio Petrussa. Coro Lírico Pía Malagoli (Director: Rubén Coria). Dirección Escénica: Eduardo Rodriguez Arguibel. Diseño de Escenografía: Sergio Massa. Vestuario: Teatro Colón. Orquesta Municipal de Rosario. Director: Fernando Ciraolo
Teatro Alighieri Barbieri Volpe Fantini Salerno Costantini
Panebarco & C. e Orchestra Città di Ravenna in collaborazione con Comune di Ravenna e Hera Ravenna presentano Il Sacco dell'Energia una semplice fiaba ecologica proiezione del film con narratore e musicisti dal vivo INGRESSO GRATUITO info e prenotazioni •••@••• 347-5839049 338-3693558 trailer (http•••) (http•••) musiche di Luciano Titi eseguite da Luciano Titi (fisarmonica e pianoforte) Giancarlo Bianchetti (chitarra, banjo, percussioni) Tiziano Barbieri (contrabbasso) Vittorio Volpe (batteria) Paolo Fantini (corno francese) Matteo Salerno (flauto e tubi sonori) voce Franco Costantini
Piero Cappuccilli Montserrat Caballé Paul Plishka Lando Lando Bartolini Adorno Alain Fondary Costantini Orchestre National France 1926 1985 2005
Piero CAPPUCCILLI ( Trieste, 9 novembre 1926 - 11 luglio 2005) Piero Cappuccilli (Simon Boccanegra) Montserrat Caballé (Amelia) Paul Plishka (Jacopo Fiesco) Alain Vernhes (Pietro) Lando Bartolini (Gabriele Adorno) Alain Fondary (Paolo Albiani) Christine Pirson (Ancella) Bruno Costantini (Il Capitano) Orchestre national de France Choeur de Radio-France Maurizio Arena (conductor) Jacques Karpo (Stage Director) 13th July, 1985
Antonio Vivaldi Lalli Lichtenstein Svoboda Růžička Sylva Verdi Francesco Mancini Giovanni Porta Fiore Costantini Mingotti Hesse Capella Regia Opera Graz 1675 1676 1679 1686 1690 1714 1717 1722 1730 1732 1741 1755 1762 1763 2006 2017
Argippo (Drama per musica) Antonio Denzi - Antonio Vivaldi (and others) after "Il Gran Mogol" by Domenico Lalli (= Sebastiano Biancardi, 1679 - 1741) Live performance in the Baroque theater at the Lichtenstein Castle in Valtice (Národní památkový ústav) on 5. 10. 2017 Reconstruction after Darmstadt score and Prague libretto (Abbreviated) Acknowledgment Many thakns to Ondřej Macek for providing us with his research on the reconstruction of Argippo. Many thanks to Richard Svoboda, Lenka Beránková and Zbyněk Šolc from Valtice Castle for the invitation to the project and collaborating on the production. ARGIPPO, King of Cingon - Dušan Růžička, tenore TISIFARO, Great Muggle - Ivo Hrachovec, basso ZANAIDA, Tisifaro´s daughter - Sylva Čmugrová, alto OSIRA, Argippo´s wife - Michaela Šrůmová, soprano SILVERO, Tisifaro´s nephew - Filip Dámec, soprano Capella Regia Praha Akademie staré hudby Ústavu hudební vědy Masarykovy univerzity Robert Hugo - conductor Stage director - Števo Capko and Robert Hugo Jan Neugebauer - Light design SCENE CHANGES I. Cabinet of the Great Muggle. II. The atrium of the royal palace with the city view and the river Yamuna. III. Royal Garden. IV. The colonnade of the royal palace. V. Tisifaro's chamber. VI. Garden the Osira´s dwelling. VII. Tribune of the god Kama in the middle of the forest in night lighting, adapted to perform the victim. It takes place in the Royal Palace in Agra, the capital and residence of the Great Muggle. Video: Emil Kopřiva, Radislav Babák, Robert Hugo The origin of Italian Baroque operas and the cultural environment associated with them can be imagined far more as today's film production than as an opera under Verdi or Wagner. The authorship was often collective and partial artists were often not featured in the production, including the authors of the music. The same libretto was usually set to music many times and was more like a film theme than a fixed text in a later opera. The libretto was edited over and over again for the respective version, and the same or similar text was played under different names. The similarity with the film was that the success of the opera was measured to a large extent according to how it managed to fill the box office of the relevant impresario. It can therefore be said that the principle of Baroque opera was the so-called pasticcio (pate) - an opera composed of already finished components. The libretto called "Il gran mogol" by Domenico Lalli was first set to music by the Neapolitan composer Francesco Mancini and performed at the theater of San Bartolomeo in 1714. The other two operas on the same text come from Venice from 1717 and 1722 by Giovanni Porta (ca. 1675 - 1755) and Andrea Stefano Fiore +••.••(...)). This is followed by a Prague (and probably also Vienna) version from 1730, with music by Antonio Vivaldi, commissioned by the impresario Antonio Denzi (ca. 1690 - 1763). Here, also, Vivaldi used some arias from his older operas, according to contemporary practice. The libretto was further set to music by Antonio Costantini for Mingotti's company in Brno, some musicologists also mention the performance in Vienna. Mingotti's opera company later performed opera in Graz and Copenhagen. In 2006, Ondřej Macek discovered the arias from Argippo in the Thun - Taxis court library in Regensburg. It is obvious that it is a pasticcio, in which many original Vivaldi arias from the original Prague version are used. A complete score of this pasticcio with the same structure of arias as the Regensburg source, has also been found in the archives of the University of Darmstadt. Recitatives that are missing in the Thun-Taxis library are preserved here. They exactly agree with the Prague libretto. Our current version is based on a source in Darmstadt and, based on the Prague libretto, is supplemented by several original Vivaldi arias. The opera apparently remained in Denzi's archive after its release in Prague and was further modified. How its copy became the property of Ernst Christian Hesse +••.••(...)) in Darmstadt is not clear. Obviously, not all arias in this score are from Vivaldi. The continuity of the keys (tonalities) of the recitatives, on the other hand, suggests that some recitatives may be from the original version. (Robert Hugo)
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